Sacred Hearts (34 page)

The song ends and the audience offers up a little gasp of pleasure. Onstage, Eugenia positively glows with her triumph. Zuana glances back to see what Serafina is making of the challenge.

But Serafina is not there. Her seat is empty.

Zuana turns and looks farther along the row—perhaps she has moved to get a better view—but it is hard to tell, as the room outside the throw of the candle flames is gloomy.

In the twilight beauty of the bell tower in Zuana’s mind’s eye, the abbess speaks to her again.
Officially, as it is within the first three months, she should not be allowed to watch the play, but she has done the convent such service with her voice that I feel it would be cruel to deny her the entertainment
.

Could she have left? Become so tired that she must retire to her cell? Surely not. No novice, however fatigued, would miss such entertainment. Though if she had slipped away no one would have noticed, for the whole audience, especially those toward the back, are transfixed by what is taking place onstage.

Zuana acknowledges a sharp twinge in her gut.

Of course, usually the novice mistress would look after her, but she will be too busy with the other performers. So I would like you to keep a watch on her
.

She slips out of her seat and moves behind, to the back of the refectory, to check more thoroughly.

Though it would be better if you do not make your observation too obvious. She has worked hard these last few weeks, and I would not like her to think we do not trust her
.

There is no one there. The girl has disappeared.

Zuana makes her way toward the door, trying not to disturb those around her. The last thing she sees is the curtain opening to reveal two of the converse scuttling offstage too late after setting up the wheel.

Outside, the upper loggia of the cloisters is growing dark and it takes a few seconds to adjust her eyes. Once she does she is surefooted: down the stairs and across the courtyard toward the girl’s cell in the corner. The door is shut, no light from underneath.

She turns the latch and pushes it open.

She has not been in here since that first night almost three months before. She has an image of a young woman flattened against the wall, hair wild, howling for her lost freedom.
I am buried alive in this tomb
. The snarl of fury. So much rebellion. So much life …

In the deep gloom she makes out the shape of a figure in the bed. Where has it all gone? She remembers the weight of her body as the sedative started to work. “It will not make me give in.” And now what? Was she really so broken? So ready to curl up and die here, just like all the rest?

“Serafina?”

She moves toward the bed. But even before she reaches it she knows what she will find, realizes suddenly what is happening here; understands it exactly, deeply, completely, as if she had known it always but chosen not to look. And a wave of cold and hot wonder runs through her.

The words came from my mouth, not from my heart
.

She rips back the bedclothes. The fat bundle of cloth roughly fashioned to the shape of a human figure looks pathetic even in the gloom. She picks it up, and it unrolls to reveal a Christ doll in the center. There are those who would see the use of the baby as a blasphemy.

She is moving fast now, out of the cell along the corridor toward the gatehouse. The parlatorio is dark and the gateroom empty; there is no sister on duty here, as everyone is given dispensation from their work to see the play But both outer doors are locked and bolted, and the only keys will be in the pockets of the chief conversa and the abbess.

So if not here, then where? And how?

As she crosses the courtyard into the second cloisters a great crash of thunder explodes into the air. In the refectory, God is entering the drama. The noise is such that it penetrates the infirmary, and a few seconds later Clementia’s voice rises up, moaning, straining against her cords. Will it be angels or devils this time? But it brings with it another glancing memory: the girl coming out of the dispensary, hands hidden in her robe. And behind her Clementia’s insistent voice:
The angel from the gardens is waiting for you… See, see, my night angel is returned
.

Inside her ranting what had she been saying? Yes, Serafina had been caught once out of her cell after dark. And had suffered penance for it. But now that Zuana thinks about it, that had been after Clementia had been put under restraints, surely? In which case, how often might she have seen her before then?

She has worked hard these last few weeks, and I would not like her to think we do not trust her
.

Has everyone been fooled?

Through the second cloisters she moves into the grounds. This is forbidden territory after dark, and though she has done it once—no, twice, with special dispensation, to collect an herb that was needed urgently—she is less sure of her way. She recalls the image of the convent from the perspective of the tower: the gardens, the pond, the fruit trees, and out to the walls. And with it comes the straggling line of pale rocks and stones, like ragged stitching, moving from the edge of the second cloisters to— where? A point near the wall by the river’s edge. Pale stones. On the ground in daylight no one would notice them, but at night, unless there was no moon at all, their brightness would mark a path, which once picked out could be navigated swiftly enough.

Now that she knows what she is looking for, it is easy to find, and as she follows the line, lifting her skirts to avoid the undergrowth and brambles, she remembers an angry young novice picking up a handful of stones and hurling them into the pond, while she, her appointed guide and mentor, showed her around the grounds, describing the wonders of a convent with its walled river storeroom, through which a great wealth of trade moves in—and out—through double-locked doors to the world beyond. Sweet Jesus, has the girl remembered and used everything?

By the time she reaches the storeroom doors, she is panting and breathless. She can hear sounds from the streets around, but the wall near to where the line of stones ends is deserted and the doors themselves are closed. No sign of life. Nothing. She leans against the wood, gasping to get her breath back. As she stands there, her mind racing, she becomes aware of something, some scratching or sliding noise, from within. She turns her head so that her ear is hard against the wood and listens. Beyond is the inner storeroom, with another door that leads to the outer store and from there to the river. Is someone there? Yes? No?

She puts out a hand to the iron handle above the keyhole, then as quietly as she can she pushes against it. It holds firm. Of course, it is locked. As will be the one beyond, no doubt. No. She is imagining the noise. Who could possibly get their hands on these keys? The abbess apart, both the cellarer and the chief conversa are diligent beyond words.

Aaaah! Sweet Madonna. The chief conversa …

I dosed her with basil and eau-de-vie. They gave me dispensation to help. The novice mistress said it would be good for me
.

Even Zuana, who knows nothing, knows that at night the chief conversa—a light sleeper—keeps the keys under her own weight beneath the mattress. Were she in a fever, however, how easy would it have been to slip one’s hand under …But her illness was almost two weeks ago. If the keys had gone missing, everyone would know by now. Could she have had them copied? How? By whom? The more Zuana thinks, the less she understands. But something is happening here. The girl’s absence and the wrapped body of clothes are proof enough. That and the rolling panic in her stomach.

By the time she gets back to the refectory, the spectacle has finished. The nuns are lighting candles all around and there is excited chatter and laughter as the audience mingles with the performers. The chief conversa is nowhere to be seen but the abbess is prominent enough, basking in the glow of success with two or three finely dressed women grouped around her. While this is hardly the time to announce that they may have lost a novice over the wall, it is clear she has to know.

A good abbess has eyes in the back of her head, and long before Zuana reaches her she has registered her arrival in the room, flicking a glance and then a frown in her direction. As she approaches, Zuana hastily wipes the sweat from her face.

“Suora Zuana.” The abbess turns and welcomes her easily.

“Lady Paolo, Signora Fiammetta, this is our beloved dispensary mistress. It is she we have to thank for the health of the convent and the splendid aromas that rise up from our pomades and hanging baskets.”

The women glance at her, politely uninterested. They are both so thickly painted that the slightest smiles would crack their faces. Ambergris and honeysuckle, Zuana thinks. And a hint of musk underneath. It would cost the convent a small fortune to produce their smells. She bows her head.

“I ask forgiveness for the interruption, Madonna Chiara, but I need the keys to the river storehouse.”

“The river storehouse?” The abbess’s voice is light. “What? Are we in need of more supplies at this time of the evening?”

“Yes. Something for one of the …younger novices.”

She watches the abbess’s eyes narrow. “I see. Of course, then. Do you need help? I …I am not sure whom I can spare for you at this moment.”

“No. No, I …I’ll be fine alone.”

The abbess moves her hands inside her robe to the belt that she wears underneath, always, whatever the occasion, and from it unclips a ring with two solid iron keys.

“Here. At this hour you will need a candle and a taper. Take one from the stage.” She continues brightly. “And come back to us soon, yes?”

The flash in her eye belies the comfortable smile she gives as she turns back to her painted guests.

CHAPTER TWENTY-EIGHT

ONCE DOWN THE
stairs and across the courtyard, Zuana quickens her pace, the taper protected in her hands, until she is half running through the second cloisters, out by the herb and kitchen gardens, but then bypassing the stones to go instead around the pond and out across the small orchard toward the river.

Do not make your observation too obvious. She has worked hard these last few weeks, and I would not like her to think we do not trust her
. The abbess’s words, thrown over her shoulder as they descended the stairs of the tower, had been casual, almost an afterthought.

Except how was one supposed to watch over someone who must not know she is being watched?
Dear God
. The girl had been out of her sight for—what, five?—maybe ten minutes at the longest. Zuana’s skirts catch on brambles and she has to wrench them free, feeling the material snag and tear. Had the abbess herself known something when she said that? Suspected, even? In which case, who is not trusting whom here?

In the gloom she misses her step and almost trips. She forces herself to slow down. Running within the convent is strictly forbidden except in the case of fire, as the very act gives birth to panic. More important, she cannot afford to sacrifice the light of the taper, for the dusk is fast turning to night.

The brick façade of the storehouse comes up ahead of her, the convent walls rising behind it. At the doors she bows her head.
Dear God
, she begins again.
Dear God, I give myself into
Your—
But the prayer is interrupted by what is definitely the sound of something moving on the other side.

She slips the key into the hole and feels it bite against the lock, then turn heavily. There is a flat
clunk
as the bolt moves and the door cracks open. The noise sounds enormous. She pushes the door farther and steps inside. The yawning gap reveals only darkness. She stands for a moment, registering the silence. She feels stinging like a thousand needle pricks running through her body and knows it is fear. If there is someone in here—

On the ground nearby comes a sudden scrabbling, something heavy scuttles fast over her feet, and it is all she can do not to cry out. An animal—it is only an animal running, Zuana, she tells herself. Most likely a rat. Was that what she had heard? Has she come all this way just to trap a water rat, gorging itself on convent supplies? She brings the taper to the candle and is pleased to find that her hand is steady as she lights it.

The flame jumps up into the darkness to reveal a room that is already mapped out in her mind: one wall stacked with crates and sacks, another with wine barrels and a salt container, and at the back a locked door, which leads to the outside storeroom and from there to the river itself. Everything is as she imagined it. Except for one thing. The door in the back wall is not locked. Indeed, it is not even properly closed.

She takes a few steps toward it. Her sandals are soft on the floor, but not so soft that she can conceal the rustle of cloth over grit and straw. As she stops, so does the noise. There is no sound anywhere. But there is something stronger than sound now. There is feeling. Someone has been here. Is here now. She knows it.

She reaches the door. It opens inward, and as she pulls it quietly she lifts the light so that she sees everything at the same time. The room is empty save for a few crates. But straight ahead, the double doors that give out onto the river are open. She can hear the slap of the water and the thud of the convent’s old rowboat bumping against the small dock. And in the middle, in silhouette, is the figure of a woman dressed in full skirts, tucked bodice, and piled hair. The missing donated courtier’s costume, no doubt, out of fashion already but wealthy enough to denote status on the body of a young woman, one with such a fine head of long hair that if anyone were to pass her on a Carnival street it would never occur to them to see her as a fugitive from a convent.